CARL NIELSEN WORKS VÆRKER

Transkript

1 CARL NIELSEN WORKS VÆRKER

2

3 CARL NIELSEN OUVERTURE OPUS 7 HELIOS OVERTURE OPUS 7 HELIOS Udgivet af Edited by Thomas Michelsen Edition Wilhelm Hansen Copenhagen 00 Carl Nielsen Udgaven CN 000 iii

4 The present work is part of THE CARL NIELSEN EDITION, Series II. Instrumental Music. Volume 7 Orchestral parts are available Graphic design Music set in Text set in Printed by Kontrapunkt A/S, Copenhagen SCORE by New Notations, London Swift Quickly Tryk A/S, Rødovre CN 000 ISBN ISMN M Distribution Translation Edition Wilhelm Hansen A/S, Bornholmsgade, DK-66 Copenhagen K James Manley 00 Carl Nielsen Udgaven, Det Kongelige Bibliotek, København All rights reserved 00 Carl Nielsen Udgaven CN 000 iv

5 CONTENTS INDHOLD Preface vii Forord Facsimiles xii Faksimiler Orchestra xvi Besætning OVERTURE, HELIOS, OPUS 7 OUVERTURE, HELIOS, OPUS 7 Andante tranquillo. Allegro ma non troppo. Presto. Andante tranquillo. Allegro ma non troppo. Presto. Tempo I (allegro ma non troppo). Andante tranquillo Tempo I (allegro ma non troppo). Andante tranquillo Abbreviations Forkortelser Critical Commentary Kritisk beretning Carl Nielsen Udgaven CN 000 v

6 Carl Nielsen Udgaven CN 000 vi

7 FORORD PREFACE OUVERTURE, HELIOS, OPUS 7 OVERTURE, HELIOS, OPUS 7 The concert overture Helios was composed in Athens, where Carl Nielsen and his wife, the sculptress Anne Marie Carl-Nielsen, had been living since February 90. She had received a grant, Det Anckerske Legat, and wished to use it during this stay to study ancient Greek art. Carl Nielsen wanted to compose and study archaeology. In his case the trip had been made possible by a contract signed in January the same year with the publishers Wilhelm Hansen, whereby Carl Nielsen was to receive a fixed annual sum, irrespective of how much or how little he composed. The work of composition began on 0th March. To his friend and pupil Svend Godske-Nielsen Carl Nielsen wrote in a letter of 7th March: Now it is scorchingly hot; Helios burns all day and I am writing away at my new solar system; a long introduction with sunrise and morning song is finished, and I have begun on the allegro. 5 Of the practical circumstances of the composition work Carl Nielsen wrote to the Borups 6 in a letter of 6th April 90: Here all is calm and each of us is at work. Marie is on the Acropolis from 9 to 6 every day copying a sculpture and I am working very busily and will soon have a large new work Cf. Torben Schousboe (ed.), Carl Nielsen. Dagbøger og brevveksling med Anne Marie Carl-Nielsen, Copenhagen 98, pp. 76ff. The couple were back in Copenhagen by the end of July 90. Torben Meyer & Frede Schandorf Petersen, Carl Nielsen. Kunstneren og Mennesket, Copenhagen 97-98, vol., p. 0. Torben Schousboe, op. cit., p. 78. Danish civil servant and pianist (867-95). 5 Irmelin Eggert Møller & Torben Meyer (eds.), Carl Nielsens Breve. I udvalg og med Kommentarer, Copenhagen 95, p Dagmar Borup, pianist and ear training teacher ( ), and Julius Borup, violinist, from 89 to 96 employed in the Royal Orchestra, (865-98). Koncertouverturen Helios er komponeret i Athen, hvor Carl Nielsen opholdt sig sammen med sin hustru, billedhuggeren Anne Marie Carl-Nielsen, fra februar 90. Hun havde modtaget Det Anckerske Legat, som hun med Grækenlands-opholdet ønskede at udnytte til at studere oldgræsk kunst. Carl Nielsen ville komponere og studere arkæologi. For hans vedkommende var rejsen muliggjort af en kontrakt med musikforlaget Wilhelm Hansen af januar samme år, ifølge hvilken Carl Nielsen skulle modtage et fast beløb årligt, uanset hvor meget eller lidt han i øvrigt komponerede. Kompositionsarbejdet påbegyndtes den 0. marts. Til vennen og eleven Svend Godske-Nielsen har Carl Nielsen i et brev af 7. marts meddelt: Nu er her knaldende varmt, Helios brænder den hele Dag og jeg skriver løs paa mit nye Solsystem; en lang Indledning med Solopgang og Morgensang er færdig og jeg har begyndt paa Allegro. 5 Om de praktiske omstændigheder i forbindelse med kompositionsarbejdet skrev Carl Nielsen til ægteparret Borup 6 i et brev af 6. april 90: Her gaar det saa roligt og hver passer sit Arbejde. Marie er paa Akropolis fra Kl. 9 til 6 daglig og copierer en Figur og jeg arbej- Jf. Torben Schousboe (udg.), Carl Nielsen. Dagbøger og brevveksling med Anne Marie Carl-Nielsen, København 98, s. 76ff. Parret var tilbage i København i slutningen af juli 90. Torben Meyer og Frede Schandorf Petersen, Carl Nielsen. Kunstneren og Mennesket, København 97-98, bd., s. 0. Torben Schousboe, op. cit., s. 78. Dansk kontorchef og komponist (867-95). 5 Irmelin Eggert Møller og Torben Meyer (udg.), Carl Nielsens Breve. I udvalg og med Kommentarer, København 95, s Dagmar Borup, pianistinde og hørelærepædagog ( ), og Julius Borup, violinist, fra 89 til 96 ansat i Det Kongelige Kapel (865-98). Carl Nielsen Udgaven CN 000 vii

8 finished; [...] I compose in the mornings at the Odeion the conservatory where the director has assigned me a room with a piano. 7 He reported that the overture was finished on rd April. 8 It was dedicated to Julius Röntgen. 9 The accompanying epigraph and the dedication, both of which are in the first edition of the printed score, appear to have been added at the proof-reading stage, since they are in neither the draft nor the autograph printing manuscript. The epigraph was conceived by Carl Nielsen himself, but allegedly owes its final form to A. Einar Christiansen. 0 It says: Stillness and darkness Then the sun rises to joyous songs of praise Wanders its golden way quietly sinks in the sea. The first performance was given by the Royal Orchestra, conducted by kapelmester Johan Svendsen, on 8th October 90 in the large hall of the Odd Fellow Palæ in Copenhagen. While the audience, according to the newspaper reviews of the performance that touch on this, was highly enthusiastic about the work, the reception by the critics varied. Among the unequivocally enthusiastic was Sophus Andersen, who wrote the following evaluation of Carl Nielsen s overture: It is a highly interesting work, with all the composer s well known merits the excellent instrumentation, its creator s manly striving for originality [...] it has the advantage over the 7 Irmelin Eggert Møller & Torben Meyer, op. cit., p Letter from Carl Nielsen to the Borups,..90, quoted in Irmelin Eggert Møller & Torben Meyer, op. cit., pp. 50f. The letter has a passage about sun-worship and a description of content aspects of Helios and the instrumentation of the introduction. That..90 was the date on which the composition work was finished is confirmed by the autograph dating of the pencil draft (Source C). This must therefore be taken as the probable finishing date, even though it is contradicted by a letter from Carl Nielsen to the composer and organist Thomas Laub dated Athens, 5th April 90, saying: yesterday I finished a new largish work, an overture (Helios) ; cf. Irmelin Eggert Møller & Torben Meyer, op. cit., p. 5. In his diary Carl Nielsen noted: On Sunday 0th May I went to Tatoi after finishing my overture Helios ; cf. Torben Schousboe, op. cit., pp. 79f. 9 German-Dutch composer, pianist and conductor of Carl Nielsen s acquaintance (855-9). 0 Danish author (86-99), Director of the Royal Theatre in Copenhagen The information on Christiansen s completion of the epigraph for Helios is found only in Torben Meyer & Frede Schandorf Petersen, op. cit., vol., p. 0. Norwegian composer and conductor (80-9). Danish composer and music critic (859-9). der meget flittig og har snart et stort nyt Arbejde færdigt; [...] Jeg komponerer om Formiddagen i Odeion Konservatoriet hvor Direktøren har anvist mig et Værelse med Klaver. 7 Ouverturen rapporteredes at være afsluttet. april. 8 Den tilegnedes Julius Röntgen. 9 Både det ledsagende motto og dedikationen, der begge findes i førsteudgaven af det trykte partitur, er åbenbart kommet til i korrekturfasen, idet de ikke findes i hverken kladden eller det autografe trykforlæg. Mottoet er konciperet af Carl Nielsen selv, men skylder angiveligt sin endelige udformning A. Einar Christiansen. 0 Det lyder: Stilhed og Mørke saa stiger Sol under frydefuld Lovsang Vandrer sin gyldne Vej sænker sig stille i Hav. Uropførelsen fandt sted 8. oktober 90 i Odd Fellow Palæets store sal i København, Det Kongelige Kapel spillede under ledelse af kapelmester Johan Svendsen. Mens publikum ifølge samtlige dagbladsanmeldelser fra uropførelsen, der ytrer sig herom, var stærkt begejstret for værket, var modtagelsen blandt anmelderne uensartet. Til de entydigt entusiastiske hørte Sophus Andersen, som gav følgende vurdering af Carl Nielsens ouverture: Det er et højst interessant Arbejde med alle Komponistens kendte Fortrin den udmærkede Instrumentation, dens Autors mandige Stræben efter Originalitet. [...] den har den Fordel fremfor de tidligere Kompositioner, at den er helt naturlig, 7 Irmelin Eggert Møller og Torben Meyer, op. cit., s Brev fra Carl Nielsen til ægteparret Borup af..90 citeret i Irmelin Eggert Møller og Torben Meyer, op. cit., s. 50f. Brevet indeholder en passage om soltilbedelse og en beskrivelse af indholdsmæssige aspekter af Helios samt instrumentationen af indledningen. Angivelsen af..90 som datoen for afslutningen af kompositionsarbejdet bekræftes af den autografe datering af blyantskladden (kilde C). Den må således fastholdes som den sandsynlige færdiggørelsesdato, selvom den modsiges af et brev fra Carl Nielsen til komponisten og organisten Thomas Laub dateret Athen den 5 April 90, hvori det hedder: igaar afsluttede jeg et nyt større Arbejde, en Ouverture (Helios), jf. Irmelin Eggert Møller og Torben Meyer, op. cit., s. 5. I sin dagbog har Carl Nielsen noteret: Søndagen den 0de Maj rejste jeg til Tatoi efter at have fuldendt min Ouverture Helios, jf. Torben Schousboe, op. cit., s. 79f. 9 Tysk-hollandsk komponist, pianist og dirigent af Carl Nielsens vennekreds (855-9). 0 Dansk forfatter (86-99), direktør for Det Kongelige Teater i København fra 899 til 909. Oplysningen om Christiansens færdiggørelse af mottoet til Helios findes kun i Torben Meyer og Frede Schandorf Petersen, op. cit., bd., s. 0. Norsk komponist og dirigent (80-9). Dansk komponist og musikkritiker (859-9). Carl Nielsen Udgaven CN 000 viii

9 earlier compositions that it is quite natural, growing out of a natural creative urge with no pursuit of the cheap originality manifested by cacophonous harmonies and a total contempt for melody. Gustav Hetsch, in his review, took his point of departure in the same view apparently common in those days that Carl Nielsen s orchestral music was intellectual and not very accessible; but he was less convinced of the work s expressive qualities: The overture is easy enough to grasp unlike several of Carl Nielsen s other works but it is not easy to keep hold of. It has been written with all the thematic and orchestral ingenuity and all the artistic seriousness that have been sufficiently emphasized as the composer s good side. On the other hand it is not particularly imaginative; it has the unfortunate shortcoming for a Sun piece that it does not shine and does not warm. 5 We find the last objection expressed again by, among others, Alfred Tofft, 6 who singled out the slow introduction to the detriment of the allegro section in his criticism: In the overture the half-light [...] is best evoked, with talent and with promise for the development. But when the sun has risen and should shine in dazzling magnificence, the composer has abandoned it in the attempt. It is as if the energy fails. The sun does not warm. 7 Leopold Rosenfeld, 8 too, liked the introduction to the overture, but criticized the allegro section, using exactly the same verbs as Hetsch and Tofft: the sun that follows does not warm and shine as much as the half-light of the dawn. 9 The longest review was written by Charles Kjerulf. 0 However, he used most of his column space to criticize the circle of supporters around Carl Nielsen. This prompted a response from Carl Nielsen the very next day, demanding København, Danish music writer and critic (867-95). 5 Nationaltidende, Danish composer and music critic (865-9). 7 Berlingske politiske og Avertissements-Tidende, evening edition, Danish composer, singing teacher and music critic (89-909). 9 Dannebrog, Danish composer, writer and music critic (858-99). Politiken, udsprunget af en naturlig Skabertrang uden nogen Jagen efter den Godtkøbs-Originalitet, der giver sig Udslag i ildelydende Harmonier og en total Foragt for Melodi. Gustav Hetsch tog i sin anmeldelse udgangspunkt i den samme, i samtiden tilsyneladende almindelige vurdering af Carl Nielsens orkestermusik som intellektuel og svært tilgængelig, men var mindre overbevist om værkets udtryksmæssige kvaliteter: Ouverturen er nem nok at faa fat paa i Modsætning til adskillige andre af Carl Nielsens Arbejder, men den er ikke nem at holde fast paa. Den er skrevet med al den thematiske og orkestrale Dygtighed og al den kunstneriske Alvor, der tilstrækkelig er fremhævet før som Komponistens gode Side. Den er derimod ikke synderlig fantasifuld; den har den for et Sol - Stykke kedelige Mangel, at den ikke lyser og ikke varmer. 5 Den sidste indvending genfindes hos blandt andre Alfred Tofft, 6 der i sin kritik fremhæver den langsomme indledning på bekostning af allegrodelen: I Ouverturen er Tusmørket [...] skildret bedst, talentfuldt og lovende for Udviklingen. Men hvor Solen er kommet op og skal skinne i blændende Pragt, der har Komponisten ladet det forblive ved et Tilløb. Det er, som om Kræfterne svigte. Solen varmer ikke. 7 Også Leopold Rosenfeld 8 syntes godt om ouverturens indledning, men kritiserede allegrodelen, idet han anvendte præcis de samme verber som Hetsch og Tofft: den efterfølgende Sol varmer og lyser ikke saa godt som Morgendæmringen. 9 Den fyldigste anmeldelse stod Charles Kjerulf for. 0 Han anvendte imidlertid hovedparten af sin spalteplads til at kritisere kredsen af tilhængere omkring Carl Nielsen. Kritikken affødte et svar fra Carl Nielsen straks den følgende dag med krav om dokumentation for Kjerulfs påstand om, at en lille Kres af ganske taabelige Ildtilbedere skulle sætte Carl Nielsen København, Dansk musikforfatter og -kritiker (867-95). 5 Nationaltidende, Dansk komponist og musikkritiker (865-9). 7 Berlingske politiske og Avertissements-Tidende, aftenudgave, Dansk komponist, sanglærer og musikkritiker (89-909). 9 Dannebrog, Dansk komponist, forfatter og musikkritiker (858-99). Politiken, Ibid. Carl Nielsen Udgaven CN 000 ix

10 documentation for Kjerulf s claim that a small circle of quite foolish fire-worshippers ranked Carl Nielsen with Mozart and Beethoven. Further squibs were exchanged by Kjerulf and the Carl Nielsen supporter Rudolph Bergh, while Nielsen himself contributed nothing more to the debate. Carl Nielsen performed Helios several times during his life. The first time, as far as we know, was the evening concert dedicated to Nielsen s compositions at the Odd Fellow Palæ on th November The last performance of Helios under Carl Nielsen s baton that we can document was on th February 90 in Gothenburg, Sweden. 6 He conducted several abroad. Besides Gothenburg, he certainly played the overture in Helsinki, 7 Stockholm 8 and Berlin. 9 However, he never did so at the Music Society (Musikforeningen) in Copenhagen, where he was principal conductor from 95 until 97. The extant source material for Helios ranges from sketches through a pencil draft and an ink fair copy to manuscript parts, a printed score with printed parts and a piano arrangement. If the source material is extensive, the degree to which the sources represent finished versions of the work is less satisfactory. The fair copy which formed the source for the printed score seems to have been written down in haste and in some respects is almost like a draft. As a consequence of this, and as a result of a good few music engraving errors, the printed score presents the work in what is strictly speaking an unfinished form. The articulation markings in particular appear incomplete, since the engraver, in this respect, closely followed the inconsistent ink manuscript. There are also several decided note errors due to carelessness on the part of the engraver. Two of these need to be singled out: b. 95, where a bar of the timpani part is missing; and b., where a whole chord is missing in the bassoon and brass parts. Ibid. Politiken, Danish zoologist and composer (859-9). 5 Torben Meyer & Frede Schandorf Petersen, op. cit., vol., p. 7 and concert programme, DK-Kk, CNA I.E.b. 6 According to a pencilled note in Swedish in sign. 66 in the library of the Gothenburg Symphony Orchestra, Konserthuset (printed score): Composer s own playing time / 90: min. This accords with the notes in two of the printed parts (vl. Nos. and ), same location, and the concert programme, DK-Kk, CNA I.E.b ; cf. Carl Nielsen s scrapbook, p., DK-Kk, CNA I.E.b (the date is uncertain); cf. Carl Nielsen s scrapbook, pp. 6ff, DK-Kk, CNA I.E.b at Nordischer Abend des Berliner Sinfonie- Orchesters in Blüthnersaal; cf. concert review in Die Tonkunst quoted in Rudolph Simonsen, Der dänische Tondichter Carl Nielsen, Copenhagen 9, p. and concert programme, DK-Kk, CNA I.E.b. på niveau med Mozart og Beethoven. En videre polemik udspandt sig mellem Kjerulf og Carl Nielsen-støtten Rudolph Bergh, mens Nielsen selv ikke bidrog yderligere til debatten. Carl Nielsen opførte Helios adskillige gange i løbet af sit liv. Første gang var så vidt vides ved en kompositionsaften i Odd Fellow Palæet. november Den sidste opførelse af Helios under Carl Nielsens taktstok, der kan dokumenteres, foregik. februar 90 i Göteborg. 6 Flere af de opførelser, Carl Nielsen ledede, fandt sted i udlandet. Således har han foruden i Göteborg med sikkerhed spillet ouverturen både i Helsinki, 7 i Stockholm 8 og i Berlin. 9 Til gengæld opførte han den aldrig i Musikforeningen i København, for hvilken han var dirigent fra 95 til 97. Det overleverede kildemateriale til Helios rækker fra skitser over blyantskladde og blækrenskrift til håndskrevne stemmer, trykt partitur med tilhørende trykte stemmer og klaverarrangement. Er kildematerialet fyldigt, er den færdiggørelsesgrad, kilderne repræsenterer, til gengæld mindre tilfredsstillende. Renskriften, der har dannet forlæg for det trykte partitur, synes nedfældet i hast og har i nogle henseender nærmest kladdepræg. I konsekvens heraf såvel som på grund af en del stikkerfejl fremlægger det trykte partitur værket i en strengt taget ufærdig form. Især artikulationsangivelserne fremstår som ufuldstændige, idet nodestikkeren netop hvad angår dette parameter har fulgt det ikke gennemarbejdede trykforlæg nøje. Samtidig findes flere deciderede nodefejl, der skyldes sjusk fra stikkerens side. Heraf kræver to særlig fremhævelse, nemlig t. 95, hvor en takt af paukestemmen mangler, og t., hvor en hel akkord mangler i fagot- og messingblæserstemmerne. På trods af at Carl Nielsen ofte dirigerede Helios, kendes ikke noget autoritativt kildemateriale, som fuldstændigt Politiken, Dansk zoolog og komponist (859-9). 5 Torben Meyer og Frede Schandorf Petersen, op. cit., bd., s. 7 og koncertprogram, DK-Kk, CNA I.E.b. 6 Ifølge blyantsantegning i sign. 66 i Göteborg Symfoniorkesters bibliotek, Konserthuset (trykt partitur): Tonsättarens egen speltid / 90: min. Antegningen stemmer overens med antegninger i to trykte stemmer (vl. nr. og ) sammesteds, og koncertprogram, DK-Kk, CNA I.E.b , jf. Carl Nielsens scrapbog, s., DK-Kk, CNA I.E.b (den nøjagtige dato er usikker), jf. Carl Nielsens scrapbog, s. 6ff, DK-Kk, CNA I.E.b ved Nordischer Abend des Berliner Sinfonie- Orchesters i Blüthnersaal, jf. koncertanmeldelse fra Die Tonkunst citeret i Rudolph Simonsen, Der dänische Tondichter Carl Nielsen, København 9, s. og koncertprogram, DK-Kk, CNA I.E.b. Carl Nielsen Udgaven CN 000 x

11 Despite the fact that Carl Nielsen often conducted Helios, we know of no authoritative source material that completely corrects the shortcomings and inconsistencies mainly in the articulation markings found in the score. As a result, it has been necessary, in the score presented here, to make a considerable number of additions and a few changes, especially in articulatory features. These are based partly on analogies from internal premises in the main source that is, Carl Nielsen s copy of the printed score and partly on other sources, as documented in all cases in the list of editorial emendations and alternative readings. regulerer de mangler og inkonsekvenser med hensyn til først og fremmest artikulationsangivelserne, der præger partituret. Følgelig har det i forbindelse med den her forelagte revision af nodeteksten været nødvendigt at foretage et betydeligt antal tilføjelser samt enkelte ændringer af især artikulationsmæssige forhold. Dette er sket dels ud fra analogislutninger på baggrund af interne præmisser i hovedkilden, det vil sige Carl Nielsens håndeksemplar af det trykte partitur, dels med belæg i andre kilder, sådan som det i alle tilfælde er dokumenteret i revisions- og variantfortegnelsen. Thomas Michelsen Thomas Michelsen Carl Nielsen Udgaven CN 000 xi

12 This and the following two pages show facsimiles of the same passage from Helios, the transition from the slow introduction to the allegro section, as it appears in the draft (Source C), the printing manuscript (Source B) and Carl Nielsen s copy of the printed score (Source A ). Helios, draft (Source C), bb Denne og de følgende to sider viser faksimiler af samme passage fra Helios, overgangen fra den langsomme indledning til allegrodelen, som den findes i henholdsvis kladden (kilde C), trykforlægget (kilde B) og Carl Nielsens håndeksemplar af det trykte partitur (kilde A ). Helios, kladde (kilde C), t Carl Nielsen Udgaven CN 000 xii

13 Helios, printing manuscript (Source B), bb Helios, trykforlæg (kilde B), t Carl Nielsen Udgaven CN 000 xiii

14 Helios, Carl Nielsen s copy of the printed score (Source A ), bb. 7-75, with an addition in pencil in Carl Nielsen s hand. Helios, Carl Nielsens håndeksemplar af det trykte partitur (kilde A ), t. 7-75, med tilføjelse i blyant i Carl Nielsens hånd. Carl Nielsen Udgaven CN 000 xiv

15 blank Carl Nielsen Udgaven CN 000 xv

16 ORCHESTRA BESÆTNING flauti / flauto piccolo oboi clarinetti fagotti corni trombe tromboni tuba timpani archi Carl Nielsen Udgaven CN 000 xvi

17 OVERTURE HELIOS OUVERTURE HELIOS Andante tranquillo ( = 60) Op. 7 Flauto Flauto (Flauto piccolo) Oboe Clarinetto (A) Fagotto Corno (F) Tromba (C) Trombone tenore Trombone basso Tuba Timpani (F, B, E) Andante tranquillo ( = 60) Violino Violino Viola Violoncello poco Contrabbasso poco Copyright 00 by Carl Copyright Nielsen Udgaven, Carl Nielsen The Royal Udgaven Library, Copenhagen

18 sempre sempre Vl. Vl. 9 Vl. Vl. div. unis. Carl Nielsen Udgaven CN 000

19 5. sempre espressivo Cl. (A) poco Vl. poco Vl. poco poco poco poco... Cl. (A). a Vl. Vl. Carl Nielsen Udgaven CN 000

20 Cl. (A) 7.. a Vl. sempre Vl. sempre sempre sempre sempre Cl. (A).... Vl. poco a poco cresc. sempre cre Vl. poco a poco cresc. sempre cre poco a poco cresc. sempre cre poco a poco cresc. sempre cre poco a poco cresc. Carl Nielsen Udgaven CN 000

21 5 9. Cl. (A). a a Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. scen do trem. Vl. scen scen do do trem. scen do sempre cre scen do Carl Nielsen Udgaven CN 000 5

22 6 55 cresc. cresc. cresc. Cl. (A) cresc. a a cresc. cresc. cresc. Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. cresc. Vl. cresc. cresc. cresc. cresc. Carl Nielsen Udgaven CN 000 6

23 7 6 più più più Cl. (A) più a a più più più Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. più Vl. più più più più Carl Nielsen Udgaven CN 000 7

24 8 67 a a Cl. (A) a a Tr. (C) Trb.t. Trb.b. Tb. Timp. trem. Vl. Vl. div. trem. Carl Nielsen Udgaven CN 000 8

25 accelerando 9 7 a a Cl. (A) a a Tr. (C) Trb.t. Trb.b. Tb. Timp. accelerando Vl. Vl. Carl Nielsen Udgaven CN 000 9

26 0 Allegro ma non troppo ( = 08) 75 Cl. (A) a Tr. (C) Trb.t. Trb.b. Tb. Timp. Allegro ma non troppo ( = 08) Vl. Vl. unis. div. Carl Nielsen Udgaven CN 000 0

27 8. Cl. (A) a Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000

28 87. muta in picc. a Cl. (A) a Tr. (C) Trb.t. Trb.b. Tb. Timp. 8 Vl. più Vl. più Carl Nielsen Udgaven CN 000

29 a 9 Picc. Cl. (A) Tr. (C) Trb.t. Trb.b. Tb. solo Timp. 8 Vl. Vl. unis. Carl Nielsen Udgaven CN 000

30 99 Picc. Cl. (A) a Tr. (C) Trb.t. Trb.b. Tb. Timp. 8 Vl. Vl. Carl Nielsen Udgaven CN 000

31 5 Carl Nielsen Udgaven CN 000 Cl. (A) Tr. (C) Trb.b. Timp. Trb.t. Vl. Picc. Vl. Tb. 05 a muta in fl. gr. a div. 5

32 6 Cl. (A) a Tr. (C) a Trb.t. Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000 6

33 7 7 Cl. (A) a Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000 7

34 8 poco rall. a tempo. molto. Cl. (A) molto molto a molto molto Tr. (C) molto molto Trb.t. molto Trb.b. molto Tb. molto Timp. poco rall. a tempo Vl. trem. pizz. Vl. trem. pizz. trem. pizz. Carl Nielsen Udgaven CN 000 8

35 9 0. cresc.. Cl. (A) cresc. Vl. cre scen do cre scen do cre scen do espressivo cre scen do 7. muta in picc.. espressivo.. espressivo Cl. (A). Vl. Carl Nielsen Udgaven CN 000 9

36 0... cre scen do cre scen do Vl. cre scen do pizz. cre scen do cre scen do cre scen do. 5. poco a poco. Cl. (A). poco a poco poco a poco poco a poco Vl. poco a poco poco a poco poco a poco poco a poco Carl Nielsen Udgaven CN 000 0

37 58 cre scen Cl. (A) Vl. cre scen Vl. cre cre scen scen cre scen cre scen 65. do Cl. (A)... Vl. do Vl. do do do do Carl Nielsen Udgaven CN 000

38 7.. espressivo Cl. (A).. espressivo Vl. Vl. 79 a cresc. Picc.. cresc.. Cl. (A) Vl. Vl. arco cresc. cresc. cresc. cresc. cresc. Carl Nielsen Udgaven CN 000

39 più allegro 86 a cresc. Picc. cresc. Cl. (A) cresc. cresc. cresc. cresc. Tr. (C) Trb.t. Trb.b. Tb. Timp. più allegro trem. Vl. trem. Vl. arco trem. arco arco Carl Nielsen Udgaven CN 000

40 9 Picc. Cl. (A) Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000

41 tempo I 5 99 a Picc. a Cl. (A) Tr. (C) Trb.t. Trb.b. Tb. Timp. tempo I Vl. Vl. trem. div. Carl Nielsen Udgaven CN 000 5

42 6 05 a Picc. a a Cl. (A) Tr. (C) Trb.t. Trb.b. Tb. Timp. trem. Vl. trem. Vl. unis. Carl Nielsen Udgaven CN 000 6

43 a Presto 7 Picc. a Cl. (A) Tr. (C) Trb.t. Trb.b. Tb. Timp. F muta in A Presto Vl. Vl. Carl Nielsen Udgaven CN 000 7

44 8 7 Vl. Vl. Vl. Vl. 9 Vl. Vl. 5 Vl. Vl. Carl Nielsen Udgaven CN 000 8

45 9 a Picc. a marcato a Cl. (A) a marcato a marcato a marcato Tr. (C) Trb.t. a marcato a marcato marcato Trb.b. marcato Tb. marcato Timp. Vl. Vl. Carl Nielsen Udgaven CN 000 9

46 0 7 a Picc. a a Cl. (A) a a a Tr. (C) a Trb.t. a Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000 0

47 poco a poco rall. 5 a Picc. a a Cl. (A) a 5 a a Tr. (C) a Trb.t. a Trb.b. Tb. Timp. 8 poco a poco rall. Vl. trem. Vl. trem. 5 5 Carl Nielsen Udgaven CN 000

48 59 a Picc. a a Cl. (A) a a a trem. Tr. (C) a Trb.t. Trb.b. Tb. Timp. solo 8 Vl. Vl. Carl Nielsen Udgaven CN 000

49 65 Tempo I (allegro ma non troppo) sempre Picc. sempre Cl. (A) sempre a sempre sempre sempre Tr. (C) sempre sempre Trb.t. sempre Trb.b. sempre Tb. sempre Timp. 8 Tempo I (allegro ma non troppo) Vl. sempre Vl. sempre sempre sempre sempre Carl Nielsen Udgaven CN 000

50 7 Picc. Cl. (A) a Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000

51 a 5 77 Picc. a a Cl. (A) a a Tr. (C) Trb.t. Trb.b. Tb. Timp. Vl. Vl. Carl Nielsen Udgaven CN 000 5

52 6 8 a poco a poco Picc. a a poco a poco poco a poco Cl. (A) poco a poco a poco a poco poco a poco poco a poco Tr. (C) poco poco Trb.t. poco Trb.b. poco Tb. poco Timp. trem. poco Vl. trem. poco a poco Vl. poco a poco trem. poco a poco poco a poco poco a poco Carl Nielsen Udgaven CN 000 6

53 a 7 9 sempre Picc. sempre a Cl. (A) sempre sempre Tr. (C) sempre sempre Trb.t. Trb.b. Tb. E muta in E solo Timp. sempre Vl. sempre Vl. sempre div. unis. sempre sempre sempre Carl Nielsen Udgaven CN 000 7

54 8 0 poco rall. a sempre rall.. Picc. Cl. (A) a. Tr. (C) Trb.t. Trb.b. Tb. Timp. poco rall. sempre rall. Vl. Vl. div. unis. Carl Nielsen Udgaven CN 000 8

55 9. Andante tranquillo Picc.. Cl. (A). Tr. (C) Trb.t. Trb.b. Tb. Timp. Andante tranquillo Vl. Vl. Carl Nielsen Udgaven CN 000 9

56 0. Cl. (A).. 8. Cl. (A).. poco poco poco 5. lunga lunga molto Carl Nielsen Udgaven CN 000 0

57

58 ABBREVIATIONS FORKORTELSER b. bar cb. contrabbasso cl. clarinetto CN Carl Nielsen CNA Carl Nielsen Arkivet (The Carl Nielsen Archives) CNS Carl Nielsens Samling (The Carl Nielsen Collection) cor. corno DK-Kk Det Kongelige Bibliotek, København (The Royal Library, Copenhagen) fg. fagotto fl. flauto fl.gr. flauto grande marc. marcato ob. oboe picc. flauto piccolo Pl. No. Plate Number stacc. staccato str. strings tb. tuba ten. tenuto timp. timpani tr. tromba trb.b. trombone basso trb.t. trombone tenore va. viola vc. violoncello vl. violino woodw. woodwind instruments Carl Nielsen Udgaven CN 000

59 CRITICAL COMMENTARY In the Critical Commentary the following conventions are used: by analogy with is used when something has been added, emended or omitted by analogy with another passage in the main source. The analogy may be vertical. When something is added by analogy with one or more instruments, it is understood that the analogy is with the same place in the same bar(s). Or it may be horizontal. When something is added by analogy with one or more bars, it is understood that the analogy is with a parallel place in the same instrument(s). as in is used when something is added, emended or omitted to correspond to the same place in another source. in accordance with is used in cases where there is no authoritative source, only a guideline for example printed part material. In the bar number column, the symbol + is used to indicate an upbeat to the bar in question. SOURCES OVERTURE, HELIOS, OPUS 7 A A A B C D E E F G Printed score, Carl Nielsen s copy Printed score, dedication copy for Henrik Knudsen Printed score, Radio Denmark s copy Autograph score, printing manuscript Autograph score, draft Parts, manuscript copy Printed parts, Carl Nielsen s copy(?) Printed parts, Radio Denmark s copy Printed piano score for four hands, Henrik Knudsen s copy Sketches A A Printed score, Carl Nielsen s copy. DK-Kk, CNS 56e. Title page etc.: HELiOS / Ouverture / for Orchester af / CARL NiELSEN / Wilh. / HANSEN. / Kjøbenhavn. / Leipzig. / PARtitur / og / Stemmer. Fol. r, in circular vine wreath: Tilegnet / Julius Röntgen / i / VensKab. Fol. v : Dunkel und Ruhe dann steigt unter frohem Gesang die Sonne, / Geht ihren goldenen Gang, senkt sich dann lautlos ins Meer. / Stilhed og Mørke saa stiger Sol under frydefuld Lovsang / Vandrer sin gyldne Vej sænker sig stille i Hav. Pl. No.: 669 (905). From the estate of Irmelin Eggert Møller, donated to the Royal Library by Prof. Eggert Møller, dr. med. in x6.5 cm, 5 pp., black half-binding with corners. The score has the following note, corrections and additions in Carl Nielsen s hand: Front flyleaf r : Vacuum Oil noted on the middle of the page in pencil. First music page: Correction of metronome mark 00 to 60 in pencil. A few corrections of errors in notes and accidentals as well as additions and remarks in the music text in pencil and red crayon. Printed score, dedication copy for Henrik Knudsen. DK-Kk, DFM 9 No.,9. Title page: The same as for A. Pl. No.: 669 (905). Acquired by the Royal Library from the antiquarian music bookseller Dan Fog, Copenhagen, in 99..5x7 cm, 5 pp., stapled. The first page of music has the following ink inscription in HELiOS / Overture / for Orchestra by / CARL NiELSEN / Wilh. / HANSEN. / Copenhagen. / Leipzig. / Score / and / Parts. Dedicated to / Julius Röntgen / in / Friendship. Dunkel und Ruhe dann steigt unter frohem Gesang die Sonne, / Geht ihren goldenen Gang, senkt sich dann lautlos ins Meer. / Stillness and darkness then the sun rises to joyous songs of praise / Wanders its golden way quietly sinks in the sea. Carl Nielsen Udgaven CN 000

60 A Carl Nielsen s hand: Til min kjære Ven Henrik Knudsen / fra hans hengivne / Carl Nielsen. / Kjøbenhavn den 7 de Maj 905. The metronome marking 00 on the first page of music has been corrected to 6 in pencil (CN/Henrik Knudsen). There are a few corrections and additions in the music in pencil (CN/Henrik Knudsen). Printed score, Radio Denmark s copy. Radio Denmark, music archives 76+. Pl. No. 669 (905)..5x5.5 cm, 5 pp., bound in grey cardboard with green linen spine. On the front cover, partly on two white labels, in black felt marker and blue crayon: PARTITUR. I / 76+ / WH-REVERS / C.NIELSEN: / HELIOS - / OUVERTURE. The front and back covers are stamped DANMARKS RADIO / Nodebiblioteket. The score has seen much use. Many of the pages have been repaired with pieces of paper and adhesive tape of various kinds. The original title page is missing. Fol. r is stamped Statsradiofoniens Arkiv København (oval stamp). Fol. v has an arrow drawn in red crayon and in ink Behandl Partiturerne med Varsomhed! 5 (Launy Grøndahl). On the same page a music sheet has been pasted in, measuring 5.7x7. cm with staves on each page, containing Launy Grøndahl s autograph amendments to the introductory horn quartet passage (bb. 5-9) noted in pencil, ink and blue crayon on the recto page. On the verso page there is a crossed-out draft of the same amendments in pencil and ink. Below this, in ink, is Launy Grøndahl s autograph amendment of the last six bars of the overture arranged for solo cello. The first music page is stamped Statsradiofoniens Arkiv København (oval stamp). The printed metronome marking on the first page of music has been furnished with an asterisk in ink. The corresponding note, also in ink, says *Carl Nielsens eget / Tempo var nærmest / = 69. / L. Gr. 6 (Launy Grøndahl). The music itself has at least two additions in pencil by Carl Nielsen and some corrections in various other hands, including Launy Grøndahl s as directed by Carl Nielsen. There are also numerous conductor s remarks in pencil, ink and various B C crayons. The music also has many pencilled remarks on the tempos used by contemporary conductors. Some of these remarks have partly been destroyed by cutting. Autograph score, printing manuscript. DK-Kk, CNS 56a. Title page: Helios. / Ouverture til Solen. / for Orkester. / af / Carl Nielsen. / Partitur. This title has been changed by deletion in pencil to Helios. / Ouverture. / for Orkester. / af / Carl Nielsen. / Partitur. The top right-hand corner of the page is stamped: Manuskriptet / udbedes tilbage (zurück) / med Korrekturen. 7 The bottom part of the page has engraver s notes about the score format and plate number as well as the size and number of plates in pencil. Donated to the Royal Library by Irmelin Eggert Møller, Anne Marie Telmányi and Wilhelm Hansen, music publishers, in 95..x6 cm, 6 pages written in ink, including title page and 6 pages of music numbered from to, then from 0 to 67, green half-binding with corners and marbled side papers. Paper type: 8 staves. The score has been restored. The bifolios appear to have been folded in both directions before the present binding, done by the Royal Library. The score is incomplete, as pp. -9 (bb. 6-5) and p. 68 (bb. 0-) are missing. The title on the first page of music is given as Helios. (Ouverture) til Solen.). This title has been changed by deletion in pencil to Helios. Ouverture. Also noted on the first page of music: Carl Nielsen. / Andante tranquillo (M.M. = 60) / Op:7. 8 The music text has corrections, additions, deletions and conductor s remarks in ink, pencil and blue and red crayon (CN) as well as engraver s remarks in pencil. Autograph score, draft. DK-Kk, CNS 56b. End date: Odeion / Athen den / April 90. Donated to the Royal Library by the pianist Knud Harder in 967. To my dear friend Henrik Knudsen / from his devoted / Carl Nielsen. / Copenhagen 7 th May Treat the scores with care! 6 *Carl Nielsen s own / tempo was more like / = 69. / L. Gr. 7 Please send / manuscript back (zurück) / with proofs. 8 has been added in blue crayon. 60 can also be red as 00. Op:7. is in pencil. Carl Nielsen Udgaven CN 000

61 .x5.7 cm, 6 numbered pages written in pencil, full vellum binding with closing strings in silk ribbon. Paper type: 8 staves. The score has been restored. Noted on the first page of music: Ouverture Hellios Carl Nielsen / Andante tranquille = 60. The music text has been written with pencils of various hardnesses. On p. 6 E Printed parts, Radio Denmark s copy. Radio Denmark, music archives 76. Wilhelm Hansen, musikforlag, Pl. No. 669 (906)..5x7 cm, 50 parts. The parts have many additions written with various writing utensils in various hands, including much information about performances. in the bottom right-hand corner, noted in ink: Opført ste D E Gang i København 8/X (CN). Parts, manuscript copy. DK-Kk, CNS 56d. Donated to the Royal Library by Irmelin Eggert Møller in x6 cm, 5 parts: vl. (No. 7), vl. (Nos. 6-7), vc. (No. ), cb. (No. ). Each part is notated in ink on gathering, consisting of bifolios with 7 written, numbered pages followed by blank, unnumbered page. Paper type: staves. The parts have corrections and additions in blue crayon (CN) and pencil (CN?). Printed parts, Carl Nielsen s copy(?). DK-Kk. Wilhelm Hansen, musikforlag, Pl. No. 669 (906). Donated to the Royal Library by Irmelin Eggert Møller in x7 cm, 9 parts. The parts show very little or no trace of use. The parts make up a complete set, but with only one copy of each string part with the exception of vl., vl. and cb., each in two copies. One vl. and one vl. part have the title Helios, the part names Violino I mo and Violino II respectively, and the orchestral desk numbers N o 7 and N o 6 in pencil on the otherwise blank front cover. One cb. part has the desk number N o, while the title and the part name appear in the printed information on the front cover. The additions are in Carl Nielsen s hand. The copies of the vl. and vl. parts described above have a few notes in pencil and ink (unknown hand). The rest of the part material has no added notes. 9 Performed st time in Copenhagen 8/X 90. F G Printed piano score for four hands, Henrik Knudsen s copy. DK-Kk, DFM 5 No. 6. Title page: SAMFUNDET TIL UDGIVELSE AF DANSK MUSIK. /. SERIE Nr.. / TIL JULIUS RÖNTGEN. / HELIOS / OUVERTURE / FOR / ORKESTER / AF / CARL NIELSEN. / Op. 7. / KLAVERUDTOG FOR HÆNDER AF HENRIK KNUDSEN. / FORLÆGGERENS EJENDOM FOR ALLE LANDE. / KJØBEN- HAVN & LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG. 0 Pl. No. 760 (905). Acquired by the Royal Library from the antiquarian music bookseller Dan Fog, Copenhagen, in 99..x7. cm, pp. The score is wrapped in a light cover made from the outer bifolio of a copy of the printed orchestral score of Helios (Source A), with the figure 95 in pencil on the front page. After the last page a single page with neither print nor handwriting. The score has Henrik Knudsen s signature on the front page and a couple of fingering instructions and other additions in the music text in pencil (Henrik Knudsen). Sketches. DK-Kk, CNS 56c. Donated to the Royal Library by Irmelin Eggert Møller in 958. The sketches are notated in pencil on two types of music paper, a and b: a:.x5.7 cm, bifolio and folio with a total of 6 written pages. 8 staves. Sketches for Helios notated over to 9 staves and a 0 THE SOCIETY FOR THE PUBLICATION OF DANISH MUSIC. / nd SERIES No.. / TO JULIUS RÖNTGEN. / HELIOS / OVERTURE / FOR / ORCHESTRA / BY / CARL NIELSEN. / Op. 7. / PIANO ARRANGEMENT FOR HANDS BY HENRIK KNUDSEN. / PUBLISHER S PROPERTY FOR ALL COUNTRIES. / COPENHAGEN & LEIPZIG. / WILHELM HANSEN, MUSIC PUBLISHERS. Carl Nielsen Udgaven CN 000 5

62 written version of an eight-bar melody with the text So lang du lebst, wandl im Licht, über Unglück gräm dich nicht; der Lebensfaden reicht nicht weit, das Ende fordert ab die Zeit. b:.x5. cm, folio with written pages. staves. Sketches for Helios notated over 5 to 7 staves. The earliest musical source for Helios is Carl Nielsen s pencil sketches (G), which formed the basis of the pencil draft (C). The draft was in turn the basis of the composer s ink fair copy (B), which was the source for the printed score (A). Three copies of the printed score with a special status are included in the source material since not only Carl Nielsen s copy (A ), but also Radio Denmark s copy (A ), have a few additions in the composer s own hand which have influenced the edition. Carl Nielsen s dedication copy for the pianist Henrik Knudsen (A ) has corrections made by Carl Nielsen and/or Henrik Knudsen. The manuscript set of parts (D) is a copy in unknown hands after B. Collation of the sources further shows that D served as the source for the printed parts (E). This accords with the fact that only a few duplicate copies of the string parts from D are extant, while the wind parts and the timpani part, which along with copies of the string parts must be assumed to have been sent to the music engraver, have been lost. Of the printed parts, two sets have been included in the source material because of their special status. One set (E ) has a few additions in Carl Nielsen s hand and may have been owned by the composer, although the number of string parts and the distribution of the additions among the parts suggest that it cannot be the set in its preserved form but only the three duplicate copies of the string parts that were used by Carl Nielsen (cf. description of source above). The second set (E ) is Radio Denmark s copy, which besides various musicians additions in the music also has much information about performances. None of the additions in the two sets of parts has had any influence on the edition. Henrik Knudsen s piano transcription for four hands is only known as a print (F), while Knudsen s autograph piano score, which must be assumed to be based on A and to have formed the printing manuscript for F, has been lost. A, which represents Fassung letzter Hand, has served as the main source for this edition. Because of the many imperfections and inconsistencies, the state of completion of the score is, however, such that the concept main source is weakened. Many of the imperfections and inconsistencies are due to the rather careless production of the printing manuscript (B), especially as regards articulation markings. The articulation markings in B are in fact carefully reproduced in A, while other errors in the printed score, including errors in notes and accidentals, were on the other hand made by the engraver. C has very few articulation marks. E has supplementary articulation marks etc. compared with A, but these cannot be regarded as authoritative, since they may come from additions and changes in D which were not necessarily authorized by Carl Nielsen, which is why E in principle could not function on its own as a basis for emendations of the main source. The melody, which comes from Greece, is the so-called Song of Seikilos. The text is a translation into German of the original ancient Greek text. The melody can be found for example in Albrecht Riethmüller & Frieder Zaminer (eds.), Die Musik des Altertums (Neues Handbuch der Musikwissenschaft ), Laaber 989, p. 99. For a detailed account of the relation between Helios and the melody, see Thomas Michelsen, Carl Nielsen og den græske musik nogle kilder til belysning af den musikæstetiske konflikt mellem komponisten og hans samtid i begyndelsen af århundredet, Fund og Forskning 7 (998), pp. 9-. Carl Nielsen Udgaven CN 000 6

63 EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Score arrangement in A: (8 staves) fl./picc. (bb.-7) / picc./fl. (bb.75- ), fl., (bb.-7) / fl., (bb.75-), ob.,, cl.,, fg.,, cor.,, cor.,, tr., tr.,, trb.t.,, trb.b., tb., timp., vl., vl., va., vc., cb. (In A the flute parts are notated such that picc. is only found on the top staff of the score, while the distribution of fl.- over the top two staves changes in b. 75, so that in bb. -7 it is fl. that alternates with picc., while in bb. 75- it is fl. that alternates with picc., since fl., are thereafter notated on the second-to-top staff. This has been emended as in the printed parts (E), so that only fl. alternates with picc. Where the emendation has led to a redistribution of the musical material among the flutes, this is commented on in the list of emendations and alternative readings below). Bar Part Comment A : metronome mark changed from 00 to 60 in pencil (CN); A : metronome mark changed from 00 to 6 in pencil (CN/ Henrik Knudsen); B: metronome mark: (M.M. = 60) written in blue crayon and ink (CN). The figure in this mark can be read as 00, which probably explains the printed metronome mark 00 in A; C: metronome mark: = 60 vc. cb. B, C: poco placed within - vc. slur added as in B, C, D, E and by analogy with cb. -5 vc. tie added as in B, C, D, E 5 cor. emended to as in B and in accordance with E 0 cor. added by analogy with cor.- and in accordance with E - cor. tie added as in B, D 8 cor. note : f '' emended to f'' by analogy with bb.7-7 and in accordance with E 6 vl. poco added by analogy with the other parts and as in C, D, E; C: poco molto 7-50 ob.. added by analogy with bb.-5 (fl.), - 8 (cl.) and in accordance with E 0 cb. A : note : e' changed to c' in pencil (CN) as in C fl. cl. C: cb. A : d' changed to b in pencil (CN) as in C 5 cor. added by analogy with cor.- and in accordance with E 6, 8 va. e' emended to e ' by analogy with cl., fg. and in accordance with E 5 str. C: poco a poco cresc. begins at b. 7 ob. added as in B and by analogy with b.8 (fl.) 7-9 vc. B: the upper part was added after the erasure of the upward-pointing stems of the lower part; C, D, E: the passage in unison is identical to the lower part 8 cl. added by analogy with fl. 5 va. trem. added in accordance with bb.5-0 (tremolo slashes) Bar Part Comment 5-5 fl. tr and grace notes added as in B (grace notes), by analogy with fl., and in accordance with E 5 vl. trem. added in accordance with bb.5-7 (tremolo slashes) cl. tie added by analogy with ob ob. tie added as in C 56 fg. note : marc. added by analogy with fg. and in accordance with E 57 ob. note : a' emended to c'' as in B, C, E 57 fg. marc. added by analogy with fg. and in accordance with E 57-6 cor. marc. added by analogy with bb.5-56 and as in B (b.57, cor.,, note ); ten. added by analogy with bb.6, fl. tie added by analogy with ob., cl. 58 fg. marc. added by analogy with fg. (notes - ) and in accordance with vc., cb. 58 fg. note : marc. added by analogy with bb vl. chord : emended from c'', a'' as in B, C, D, E and by analogy with ob., cor. 60 fg. cresc. added as in B, by analogy with the other parts and in accordance with E (fg.) 6 fl., fg. added as in B, by analogy with the other parts and in accordance with E (fl.,, fg.) 6 fl. vl. C: note 8: e ''' 6 fl. note : marc. added by analogy with fl. 6 cl. note : marc. added as in B 6 vc. cb. ten. added as in B, D and by analogy with bb.6-65; note (vc.): marc. added by analogy with cb. 6 fl. note : marc. added by analogy with bb.6 note, 6 notes -, 6 note, 65 notes -, and ob. and in accordance with E 6 ob. note : marc. added by analogy with bb.6 notes,-, 6 to 66 note, 67 notes -, 69 and fl. and in accordance with E 6-6 cl. marc. added by analogy with bb.65 notes -, 66, 67 note, 68 notes -, 69 and in accordance with E 6 fg. B: note : marc. and stacc. 6 cor. notes -: ten. added as in B and by analogy with bb.65, 67 6 fl. notes -: marc. added by analogy with bb.6 note, 6 notes -, 6 note, 65 notes -, and in accordance with E 6 ob. marc. added by analogy with bb.65 notes -, 66 note, 68 to 69 note and fl. (note ) and in accordance with E 6 fg. note : marc. added by analogy with bb.6-6, 6 notes -,, fl. notes -: marc. added by analogy with bb.6 note, 6 notes -, 6 note, 65 notes -, and ob. (note ) and in accordance with E 65 ob. note : marc. added by analogy with notes -, bb.66 note, 68, 69 notes - and ob. and in accordance with E 65 cl. note : marc. added by analogy with notes -, bb.66, 67 note, 68 notes -, 69 and fl. and in accordance with E Carl Nielsen Udgaven CN 000 7

64 Bar Part Comment cl. marc. added as in B (b.68 note ), by analogy with bb.6-6, 69 notes - and in accordance with E 65 fg. B: note : marc. and stacc fl. marc. added by analogy with bb.6 note, 6 notes -, 6 note, 65 notes -, 68-69, 66 note (ob.) and in accordance with E 66 fl. note : marc. added by analogy with bb.6 to 66 note, and in accordance with E 66 ob. note : marc. added by analogy with bb.65 notes -, 66 note, 68 to 69 note (ob.), 6 notes,- (ob.), 6 to 66 note (ob.), 67 notes - (ob.), 69 (ob.) and in accordance with E 66 vl. C: note : chord: a', c'' 67 ob. marc. added as in B (note ), by analogy with bb.65 notes -, 66 note, 68 to 69 note and in accordance with E 67 ob. note : marc. added as in B, by analogy with bb.6 notes,-, 6 to 66 note, 67 notes -, 69 and in accordance with E 67 cl. notes -: marc. added by analogy with bb.65 notes -, 66, 67 note, 68 notes -, 69 and in accordance with E 67 cor., note : ten. added by analogy with cor., and bb.6, 65 and in accordance with E 67 cor., note : ten. emended to stacc. by analogy with cor., and bb.6, ob. marc. added by analogy with bb.6 notes,-, 6 to 66 note, 67 notes - and fl. and in accordance with E 68 cl. note : marc. added by analogy with bb.65 notes -, 66, 67 note, 68 notes - and in accordance with E 69 ob. note : marc. added by analogy with bb.65 notes -, 66 note, 68 to 69 note and in accordance with E 69 cl. note : marc. added by analogy with bb.6-6, 69 notes - and in accordance with E 69 cor. note : ten. emended to stacc. as in B, E and by analogy with bb.6, 65, cor., added by analogy with the other parts and in accordance with E 70 vl. C: chord : d'', b '' 7 A : mosso added in pencil (CN). The addition is accompanied by the following note written in pencil: Carl Nielsens Rettelse Carl Nielsen s correction (Launy Grøndahl) 7-7 B: accellerando added in blue crayon (CN) 7 B: 6/ changed to / in pencil (CN); C (tr.): 6/ changed to / (CN); D (vl.): 6/ changed to / in pencil; E: 6/ 7-7 fl., B: slur begins at b.7 note 7 timp. A : added in pencil (CN) 75 B: metronome mark: 00 crossed out in pencil, 08 added in pencil and blue crayon (CN); C: metronome mark: = timp. A : ffadded in pencil (CN) 75 vl. stacc. added by analogy with vl. and in accordance with D, E 75 vc. marc. added as in B, C, D, E and by analogy with bb.76-8 and cb. 76 fl. notes -: stacc. added by analogy with notes -6, b.75 Bar Part Comment fl. stacc. added by analogy with b cl. cor., stacc. added by analogy with b.75 and cl. 76 tr. stacc. added by analogy with tr., and in accordance with E fl. stacc. added by analogy with bb fl. stacc. added by analogy with bb.75, 76 notes ob. cl. stacc. added by analogy with bb tr., stacc. added by analogy with b.76 and in accordance with E 80-8 fg. marc. added by analogy with bb compared with vc., cb. 80 tr. note : marc. added by analogy with tr. and b cor., marc. added by analogy with bb vl. stacc. emended to marc. by analogy with vl. and in accordance with E 8-8 vl., B: no, no, b.8 note : sempre 8 vc. tremolo slashes added as in B, C, D, E 8 vc. note : marc. omitted as in C, D, E and by analogy with b.85 and cb. 88- fl., picc. bb.88 note to note : flute parts emended as in E, such that fl./picc. has taken over fl. s musical material, fl. has taken over fl. s musical material and fl. has taken over fl./picc. s musical material 89 tr. stacc. added by analogy with tr. and in accordance with E tr., added by analogy with tr. 89 vl. note : stacc. added by analogy with vl. 90 tr. stacc. added as in B and in accordance with E 90 cb. note : marc. added by analogy with vc. and as in C 9 tr. added by analogy with tr., 9 vl.. note : added as in B and by analogy with vl. 9 picc. added by analogy with the other winds, as in pencil addition in A (CN) and in accordance with E B: b.95: pressè, b.99: a tempo added in blue crayon (CN). The additions have been erased so they are hardly visible; D: b.95: pressè, b.99: a tempo added in blue crayon (CN); E: b.95: pressé, b.99: a tempo 95 timp. emended to as in pencil addition in A accompanied by the following pencil note: Indført efter Carl Nielsens Anmodning added at the request of Carl Nielsen (Launy Grøndahl), B, C, E 95 vc. note : marc. added as in B, C, D, E and by analogy with cb.; note : tremolo omitted as in B, C, D, E timp. marc. and stacc. added as in C and by analogy with b ob. cor. tie added as in C 98 fl., tr added as in B, C, E and by analogy with picc. 98 ob. b ', d '' emended to d '', f '' as in B, C, E 99-0 fl., bb.99 to 0 note : stacc. added by analogy with bb.75-9 (fl., ob., cl., cor.,), 0 note 99-0 ob. cl. stacc. added by analogy with bb.75-9 (fl.,, ob., cl., cor.,), 0 note (fl.,) solo Carl Nielsen Udgaven CN 000 8